Kirill Karabits's Prokofiev cycle promises to be a major reappraisal if its first instalment is anything to go by. The Third and Seventh Symphonies inhabit very different worlds, though both draw their material from stage works unperformed in Prokofiev's lifetime: the Third from The Fiery Angel, his now familiar operatic study of demonic possession; the Seventh from an aborted 1936 adaptation of Pushkin's Eugene Onegin. Karabits argues that the Third has a logic of its own, unrelated to the opera, and maintains his case in a truly terrifying yet detailed performance that precariously balances formal tautness with atrocious emotional intensity. The Seventh, he claims, is "a very tragic work", which is pushing it, though his interpretation is unnervingly bleak. Both endings are included – the original sad fade-out, and the upbeat revision – though the disc is awkwardly tracked so that you can't choose one over the other: a minor quibble, though, with what is otherwise an outstanding achievement.